Beautiful apparitions

“Death is before me today:
like the recovery of a sick man,
like going forth into a garden after sickness.”

The specter of death loiters on the edges of Raffy T. Napay’s first solo exhibition, Nearest and Dearest. In 19 textured paintings, he tells the open-ended story of his afflicted mother with paint, sawdust, and burlap. The earthen palette he uses — reds, browns, and yellows — is chat rooms that use webcams the color of soil, skin, and sickness.

His images recede sildenafil medana 100mg into the background, visible only as beautiful apparitions haunting his canvases. His work achieves clarity with distance just as painful memories are better understood with time. Nearest and Dearest is an intimate remembrance of things past and sustenance of a cherished hope.

“Death is before me today:
like the odor of myrrh,
like sitting cialis coupons 2013 under a sail in a good wind.”

Countless hospital visits are subsumed into In Bed, a single image of repose. Head propped on a pillow, hands resting over belly, a lone figure awaits fate. This is how Napay recalls seeing his mother during those dark days: a frail woman almost swallowed by drab misery.

To achieve the dark, gritty atmosphere of this generic viagra sale online piece, Napay experiments with layers of oil, acrylic, leaves, grass, and broom fibers.

In Reflection, Napay’s mother literally confronts her mortality and contemplates her skeleton through a mirror.

His materials very nearly overwhelm his subjects up close but standing a respectful distance from his paintings reveal the delicate ghosts living in his impasto artworks.

Beds and empty chairs become a symbol for his mother’s incapacity. The bed Napay sets on fire in The Dreadful Hours is seen again in Two Double Decks, devoid of occupants. The sewing machine she sits at in Thread of Fate is a barely recognizable ghost in pomegranate viagra The Gift. Chair of All Trades, the site of many family gatherings, is found underneath a tree accompanied only by echoes of conversations past in The Chair.

“Death is before me today:
like the course of a stream;
like the return of a man from the war-galley to his house.”

Sickness is a trial not only for the afflicted. The miasma of disease spreads among the healthy and settles in their bones. The fight for hope is hard-won.

The surfaces Napay paints on are frayed, torn, rough around the edges — just as he must have been while grappling with the possibility of loss.

Faith and love remain indomitable, however, as evidenced in vignettes like Waiting and Through Illness, and his metaphorical turns in Love’s Eternal Shade, and Connect.

“Death is before me today:
like the home that a man longs to see,
after years spent as a captive.”*

Nearest and Dearest is a dating flirting catharsis, a beautiful and sensitive depiction of an emotionally draining period in christie ong on dating sites the artist’s life. To see his mother’s life ebbing away, her vitality doused by illness was a trying time. Now that the crisis is past and his mother is convalescing, Napay can afford to look back and appreciate how her brush with death made familial bonds stronger.

Future aspirations, which were put on hold, can still materialize. His faded Dream House, seen only from the outside, still has a chance to become buy brand cialis online canada reality. Hope springs eternal.

In My Mother, all demons appear to have sildenafil effect time been exorcized. Though created with the same materials and the same technique, it possesses an optimistic light-heartedness absent in the other works. The clouds have parted to reveal a sky tinged with pale blue, his mother’s jaundiced complexion has given way to a rosy hue, even her dress is in the pink of health. The circular rags referenced in Thread of Fate are resurrected cute singles as flowers in philly webcams full bloom.

Death was before them today. But it is no longer today, it is tomorrow. — ll

*translation of a segment from the Pyramid Texts, ca. 2000 BC